The bubbly, golden fluid that is champagne is a standard analogy for all things tied to wealth. It is symbolic of all the glittery things afforded by those people who can in turn afford to order the high-ticket beverage. That is all you need know of the meaning of the title for Alfred Hitchcock‘s 1928 silent flick Champagne.
But to further draw the connection to the title, Hitchcock opens and closes the picture using an innovative technique by which he photographs the scenes through a champagne glass. Taking the view point of a person drinking the champagne, a bubble of glass at the base of the coupe captures dancers aboard a trans-Atlantic ship and the kissing couple at the film’s close. The master of suspense would later use a similar technique to capture the strangling scene in Strangers on a Train, which is depicted as reflected by the victim’s glasses.
Unlike his later films, Hitchcock made many non-thrillers in his early years, and Champagne is one of them. A comedy, the story tells of a frivolous millionairess who regularly angers her father by squandering their wealth and running around with a man whom the patriarch believes is only interested in the family fortune. To start the film, a ship headed from America to England makes a swift rescue of two passengers of a small aircraft that has crashed into the ocean. The pilot and the woman aboard are safely escorted to the vessel but not before The Girl (Betty Balfour) powders her nose and sheds the flight jacket, goggles and headgear she wears.
The Girl’s fashionable entrance on the boat was arranged just so she could catch up with her beau, The Boy (Jean Bradin). But when the young woman informs her love that she will arrange for the captain to marry them, The Boy is offended by her take-charge approach and the two part ways. Still on board the watercraft, The Girl finds a companion in a shady looking man that had been making eyes at her since her grand entrance. The two share a rocky meal upon the rough high seas, with The Boy unable to intervene because of sea sickness.
Once in Europe, The Girl carries on her absurdly wasteful lifestyle while her father frowns at the headlines she has made. He interrupts his daughter during a party involving the purchase of several new gowns and informs her he is now broke. The Girl weeps but offers to sell her jewelry.
Jumping forward, the father-daughter couple are living together in a small flat where The Girl tends to the home and endeavors to cook. In the next scene The Father (Gordon Harker), having left the home without breakfast, dines at a fancy bistro. It seems he has not actually been separated from his money but is instead attempting to teach his daughter a lesson.
The Boy eventually finds The Girl again and is still interested in being with her, but she repeatedly spurns him while yet again crossing paths with The Man (Theodore Van Alten) who took a shine to her on the boat. She garners a job distributing flowers to gentlemen at a night club, where she is only mildly successful. The Boy brings The Father to see what lifestyle his daughter has taken up, and he is disappointed to see his trick has resulted in a blow to her dignity. He reveals to her his ruse, and she reacts by being infuriated with both The Father and The Boy for the humiliation she has suffered.
She runs to The Man and convinces him to take her along on a ship-ride back to America, her home country. It just so happens The Boy is aboard as well, bringing us full circle to the film’s start. There the couple reunites and with The Father’s blessing. The Father also reveals The Man was his friend, who was sent on the original cruise to prevent by any means the marriage of our leading lady and man.
One of the most innovative scenes in Champagne is towards the film’s start when The Girl and The Man dine aboard the boat. The rollicking seas are conveyed by a swinging camera motion and the staggering and leaning of the people aboard the boat. The effect is so convincing it started to make me seasick.
Champagne is full of comical moments and has a decent story to tell. It is superficial and full of back and forth moments for the couple, and it is predictable. Still, any chance to see an early Hitchcock movie should not be passed up, and this one has some visual effects worth enjoying.
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Filed under: Comedy, Romance, Silent | Tagged: Betty Balfour, Gordon Harker, Hitchcock, Jean Bradin, Theodore Van Alten | Leave a comment »